kye

Fantastic video! The quality of RAW on a light, slim phone, plus grading software, compared to the gigantic VHS camera my dad had in the 80s is absolutely unbelievable.
I love using motioncam on my Pixel 6a for a 15fps 8mm feel. It's really fun and freeing in the sense that I don't stress about getting a perfect image with it like I do my mirrorless cameras. I just get the exposure as close as I can and let 'er rip. It's easier to focus on framing when you aren't worried about exposure or focus.
Though I do wish the focusing had a better, less chaotic, feel with the slider. I like the feeling on the focus ring in my hand. The only other thing I find frustrating with Android phones in comparison to an iphone is the lack of good accessories due to the inexistence of standardization between manufacturers. I would love to be able to get a nice variND for my phone that doesn't seem janky or third party. I'm not a fan of fluctuating shutter speed for exposure.

@Brian Williams welcome to motioncam man, I find it very nice and I am skint like you. I cannot invest money into expensive cameras since I am not in this video business, so I am enjoying it as it is. Developers are working on this app to improve it and solve some of the bugs and is getting better and better, keep sharing your videos!

I mean, ok. I said it could shoot C4K, which it can, I just chose a different aspect ratio for this particular video.
It can shoot raw up to 60fps, I choose 24fps, I don't consider either a low frame rate.
The face is blown out I guess at some point, I need to go back to find it, but likely user error, I overexposed.
I also owned the EOS M to use the magic lantern hack, and that DID suck, bc you didn't get a realtime preview, or if you did it was insanely cropped, and the Dr sucked. This looks much better than that, we can agree to disagree, and it has optical stabilization, focus peaking, realtime preview, 4K, 60p.
I'm not claiming this is somehow better than a modern mirrorless, but very few modern mirrorless shoot raw, hell most are just now getting to 10bit. This looks better than the videos I get when using the stock video app. And I'm fucking poor and can't afford a modern mirrorless, so yeah, I have this (relatively cheap) phone that all of a sudden can shoot raw, I'm going to enjoy it.

Anyway...
Nice work, Brian. The sound of a lawn mower going over branches brings back many memories of my childhood.
I liked the quality and can really see the raw look, especially in your dog's hair.
Since I've exclusively shot raw video for years, I'm curious to hear how the post process is? I could see this being a great B-cam when I need to go incognito. Did you use the gyro function?

I'm confused as well... as someone who posts test shots, I understand what it's like to put yourself out there on a public forum. So I applaud anyone on this forum that is willing to share.
Since you post a lot of shots from your camera(s) of the week, I'd think you may have the same reservations and extend the same courtesy.
Truth is, I loved everything about Brian's post and despise almost everything about your reply...
It's a shame that with all of your money, you can't seem to afford common courtesy and manners.

film color > digital color

Just to share a little personal story - the S5 II really restored my fun in shooting little personal video's. I shoot almost daily for work and I always swore by large cinema camera's. I'm one of those crazy people that thinks an Ursa mini is the perfect body shape. (part of this is copied from a Reddit comment I made earlier but I thought it would be interesting to share here).
For the longest time I was really torn up between having a kit that is able to capture what I consider to be professional quality and something that I actually would WANT to bring with me on a walk or a day out. I carried a little Pocket 4k (GREAT camera) with me, but by the time you rig that out to shoot comfortably with a monitor/filter holder/NDs/mic, you’re still carrying something that takes up most of your bag and it just sucked the fun out of it for me. On a job, no problem, for home video’s it just wasn’t worth it for me. I was really looking for something I could just pull out of a bag pack and shoot.
So then I bought a Canon R6, and honestly that camera’s video quality was such a massive step back from even the Pocket 4k that it just wasn’t worth it for me (esp. dynamic range but also the out of camera colors). Also just awful awful video assist tools on that camera.
The S5 II kinda hits all the marks for me: very small, good enough dynamic range, good colors, good monitoring tools and good AF (better than the R6 in my opinion) on my EF lenses. That last thing (combined with it being newer, so longer firmware support) pushed me over the edge when compared to the S1H by the way. I don’t mind pulling manual focus at all, but if I’m shooting on a 3 inch screen, the AF is really nice to have. Never felt like I could really trust it with the R6 but the S5 II has really really good autofocus.

Here's somethign small I shot with it:
 

I knew it.
I went to Perth WA for an entire week once and it was just too quiet.
You could pull up for instance and park right outside a restaurant on a Friday evening without a problem.
There was a big movie being filmed around the same time elsewhere and they needed a lot of extras, so it makes sense now why the artificial city of Perth was so quiet.
My brother lives there now. Says he does but now I realise that is a lie. My own family lie to me. What is this world coming to?
Must dash, I have Aslan and Mr Tumnus coming round for breakfast shortly.
Conspiracy theorists 🤣

Australia doesn't exist. 
That's why it confused @MrSMWthat someone could be posting from that timezone. 

No worries!
A little bit of excess enthusiasm is the least of our issues!!
What are you planning on using the RAW for?  or is it just a recent discovery?

@Brian Williams On the contrary..  Lots of interest, as expressed in this thread!
Smartphone sensors have enormous potential if we could just get all the ridiculous over-processing out of the way to get to the image.  I've developed a powergrade that matches my iPhone to my GX85 to suit the work I do, but RAW would be the far easier option, that's for sure!

My understanding of it was that a colour timer would take the negative and make a positive print using a special machine where each frame of the film was exposed via a separate light for Red, Green and Blue, and the machine allowed the exposure time for each to be adjusted.  Thus the phrase "colour timing".
Adjusting all of them would raise/lower the overall exposure and adjusting them in relation to each other would adjust the WB.  The controls from that operation live on as the "printer lights" controls in Resolve and other software, as they literally adjusted the lights of the printer.
https://en.wikipedia.org/wiki/Color_grading#Color_timing

Production process:
Shot on Panavision Cameras and anamorphic lenses Using Kodak and Fuji negative films and Kodak projection film No digital intermediary - editing was done on the negative The image quality that blew you away was the state of the art in colour science in 1989.  Here we are in 2023, 34 years later and we have 8K RAW but it still doesn't look even remotely like that.
It's a pity everyone wanted more pixels instead of better pixels.

I agree about the time lapses.
Indeed, a lot of the high-resolution "video" TV 4K and 8K demos (Samsung, LG, Sony) shown in stores are time-lapses, because I suspect at least early on there were no 4K and 8K video cameras of good-enough quality. 

Just a recent discovery. I think I still had an iPhone the last time I even thought about raw video on a phone, and there wasn’t a useable app anywhere at the time (esp. not on the iPhone, I assume there probably never will be). The closest I got was the iPhone 13 Pro with ProRes, but after dropping close to $2k for the 1TB version so that it could hold all that ProRes, I started to think it wasn’t worth the money, for what I was doing at least (which is filming my kids basically).
So I was kind of floored yesterday when I just happened to discover Motioncam, especially the fact that I could dust off my old T5 ssd and plug it into the phone to record straight to the ssd. Such a cheaper setup, and I’m getting 4K raw. I kind of thought I was giving up on mobile filmmaking when I went over to android, but I guess not!

Ugh, sorry, I should’ve known there was an existing thread!

Some stills from a feature film I just wrapped on yesterday. This is just with a lut applied no further adjustments or corrections. 

 

Lol, yes it was! It started off as me saying to myself "Oh, I suppose I might as well knock up an accurate colour lut for my new camera, should probably take an hour or two", but it ended up taking a little bit longer than that!
It's an interesting idea that the V35 to V709 LUT is primarily designed for monitoring. It certainly works very well in that regard when it comes to colour because, as you say, there's very little clipping or over-saturation. But I always found the curve a bit weird for these reasons:
Middle grey stays at 42 IRE. But middle grey for Rec709 is 49 IRE. The shadows are lifted. It looks OK on a Rec709 display, ie: dark areas do look dark:
But on an sRGB display you can never get true black without pulling the shadows down after the LUT. Panasonic says that "Output is in legal range only" but if you convert the output from legal to data levels then the  shadows are properly dark, but the highlights go into the superwhites, which is annoying:

 
I had a good long think about what kinds of curves to supply with my conversion. I settled on
Panasonic's default curve (for those that are used to it) No curve at all (for those who want to create their own) A flat curve to just de-log the footage but keep highlight and shadow detail (for those who like to tweak exposure and contrast after the LUT. Middle grey = 49 IRE) A really nice, strong filmic curve (for those who like to tweak exposure and contrast before the LUT. Middle grey = 49 IRE) LumaSweet FLAT:

LumaSweet FILM:

 
Yes, without any gamut mapping or saturation control the more saturated colours get ugly fast. Here I've put the reference values of the chart as an overlay of little circles. If you can see them there's a discrepancy. Here's

ACES V-gamut to Rec709 colour:

LumaSweet Lifelike colour:

So my conversion handles highly saturated colours pretty well, straight off the bat. Even compared to Panasonic's V709, it is usually better at preventing very bright or saturated colours from slipping off the waveform in the shadow areas, and almost as good in the highlighights:

Panasonic V709 colour

 
LumaSweet Lifelike colour

 

@Brian Williams On the contrary..  Lots of interest, as expressed in this thread!
Smartphone sensors have enormous potential if we could just get all the ridiculous over-processing out of the way to get to the image.  I've developed a powergrade that matches my iPhone to my GX85 to suit the work I do, but RAW would be the far easier option, that's for sure!

I think maybe they work better for weddings where you are sniping shots. I have to do focus pulls on dollys and such for take after take so more precision is required maybe. 

I have tried a couple of cine lenses but didn’t really get on with them, especially for hybrid use, but if I only shot video, for sure I’d probably be using a set from someone like DZO or even Sigma, but the latter are a bit pricy.
Before I pushed the button on trying this 40+ year old lens, I was considering the DZO 35-80, but the cost size and weight put me off.
It’s 1.5x the weight of the Lumix 70-200mm f4 which I somewhat grudgingly have because I need it, but only use it at 3 specific times on a job.
The thought of using that 35-80 all day long, well just 🤪
The CZ 40-80, around 600g so probably around 700-750g with the adapters and is more compact than my 70-200, a nice balance of heft for stability but not taxing to use all day.
Just been eyeing up the CZ 80-200…but I’m not going to get ahead of myself!

I’ll just use reconfigure the C1-3 custom modes but instead of settings for stills and video as I do now, base it on custom IBIS focal lengths.
Or the lens might just be crap and go straight back on Ebay!
I think it should work out OK actually, but we will see…

Definitely not mid-season!
I suggest:
Learn the interface and how to get around Learn where the basic tools are and what they do Learn Colour Management and how to set everything up correctly At that point you'll have the knowledge to start getting into all the fun stuff like playing with other colour spaces and splitting channels and using blending modes etc. The journey in Resolve has three phases:
You can't yet swim, so you wade out a bit, but can't go far You learn to swim and have fun swimming around a bit further from shore and grow your skills and confidence You start to explore what's happening underneath the surface and you dive down and suddenly realise that you've only been exploring the surface and that there is no bottom..... I've read posts on the colourist forum where someone makes a one sentence post and it took me 8+ hours over multiple days to work out what they said, how to do it myself, what it meant, and how I might use it.

Good points and they strike me as mirroring the workflows of Cullen Kelly and Walter Volpatto, the only two professional colourists who I've heard break down their workflow.
The broad process for both of them seems to be:
Import footage and get things setup (or, in our cases, edit the footage!) Setup the colour management correctly so everything is well behaved Setup the global 'look' If required, setup any specific looks for groups of shots Then start reviewing the shots individually (in passes) to even things out, troubleshoot, and then to really polish things up Of course, I tend to bounce between 1 and 2, because for me the colour and visual appeal of the shots matters in terms of which ones I choose.
This is in complete contrast to how all the people that play 'colourist' on YT do it - they spend 10 minutes on one shot, whereas pros often only get 1 minute per shot, or less, so would be screwed if they didn't start broad and narrow down.
I also particularly like Cullens approach, or at least the approach he's taken to his more professional LUT pack, which is that it's modular, so there are separate LUTs for contrast, saturations, hue rotations, split-toning, and other look adjustments, with there being several options in each of these categories.  He recommends mixing and matching and applying them and adjusting the opacity of each to taste.
For me, considering I tend to shoot and grade the same sort of material, I'm developing my own default node tree with everything all setup and ready to adjust as required.  On many projects it's just a matter of applying the overall look and then just going into the Lightbox mode which shows all your shots at once and then just adjusting any that stick-out and then exporting it and doing a final watch-through.  The BM grading panels are a bit of a clue as well, having Next Node and Previous Node buttons, but not buttons to create new nodes, on the smallest one at least, which implies to me a default node structure already applied to each shot.
I've been meaning to go back and re-watch the Walter Volpatto masterclass now that I've actually gotten my head around colour management etc.  Colour Management was the biggest breakthrough for me.  Shooting on cameras that didn't have profiles in ACES/RCM meant that I had a really hard time adjusting levels or WB without the mids and highlights/shadows moving in different ways, but convert to DWG and grade and convert to 709/2.4 and then grade in DWG and all the controls magically do what you'd want them to do.

Well my ‘favourite’ focal lengths just happen to be 40 and 80 as in if I had to choose a pair of primes, these would be them.
40’s are rare and I can’t think of an 80, but 35’s common, otherwise it’s 70 (just a teeny bit too short) 75 OK, 85 OK, 90 getting a teeny bit long indoors.
So a lens that with a single push or pull is either 40 or 80 is kind of perfect for me.
The 35-70 was going to be the one I was going to try but a bit short and when I discovered the 40-80 existed, it was game set and match.
I started out with the Angenieux f2.6 28-70, but again, a bit wide and a bit short and slightly pricy because of the name.
Same with a lot of vintage glass such as Helios 58mm. Once something gains something of a cult following, prices shoot up.
These Contax Zeiss lenses seem to have a good rep, but don’t seem to have quite that level of cult worship yet, especially the 40-80 which has very little coverage.
The results I have seen from the 30-70 though look great.
I can’t see any scenario where I would move 100% to vintage glass, especially for stills, as I do have an AF requirement, but then never say never as there are clever LiDAR options so…
The bottom line is I don’t like following convention but simply for defying convention sake. If that makes sense?!